Posts Tagged ‘bonga’

WOMAD Charlton Park 2017: Sunday

Posted on August 1st, 2017 in News, Recent posts by .

WOMAD Roy Ayers

Roy Ayers; Photography by Tom Askew-Miller

African stars old and new delight the Charlton Park crowds on the final day

Those who braved the lakes of treacle-like mud, wind, rain and eventually sun were treated to a glorious day of music on Sunday at WOMAD, featuring many newcomers plus a handful of legendary acts such as Ladysmith Black Mambazo, Roy Ayers and Bonga.

The day began at the Charlie Gillett stage with the BBC Radio 3 and 6Music simulcast broadcast. Presenters Lopa Kothari and Cerys Matthews were the as ever glamorous and entertaining hosts, whose guests included the Mexican chicano group Las Cafeteras from Los Angeles; Msafiri Zawose from Tanzania and the Ska Vengers from India.

The first act on the Open Air stage was Mamadou Diabaté from Burkina Faso and his troupe of balafon (wooden xylophone) players. Perhaps it was their thunderous percussive sound that briefly kept the showers at bay and meant they attracted a big crowd. They were certainly one of several acts from Africa who really shone out.


Mamadou Diabate WOMAD

Mamadou Diabaté in Percussion Mania

On the same stage later that afternoon came Bonga, the resplendent singer from Angola. Now in his 70s, Bonga has recently released his 30th album, yet he’s still a striking figure onstage, with a deeply powerful and soulful voice. The light, semba dance rhythms of his music belie the fact that many of these songs are ones of resistance – in the early 70s his music was banned by the Salazar dictatorship in Angola.

Following on from one veteran’s performance, it was the turn of a new star in the making, Msafiri Zawose who had earlier charmed the crowd during the simulcast. His own solo set was an excellent showcase of this young musician who is keeping the Zawose family musical legacy of gogo music alive. He’s the fifth child of the late Hukwe Zawose and plays the zeze, a two-stringed bowed instrument that resembles the ritti, and the ilimba, a type of thumb piano. His new album, Uhamiaji, comes out at the beginning of September on the Soundway label – look out for more about him in a forthcoming edition of Songlines.

WOMAD Ladysmith Black

Ladysmith Black Mambazo

British folk star Eliza Carthy and her Wayward band put on one of the standout performances of the weekend. Comparisons with Bellowhead are inevitable but Carthy’s 12-piece band proved they are worthy successors of English folk’s finest big band crown. Always a hugely entertaining performer, Carthy is clearly relishing playing with this new outfit who have a punk-like attitude to the folk tradition. Their set included songs from their debut album Big Machine and rapper Dizraeli who joined them onstage for the song ‘You Know Me,’ Carthy’s response to the refugee crisis. Thankfully the torrential downpour at the start of their set was short-lived – “dance between the raindrops!” urged Carthy – and by the time they had finished, the delighted crowd and jubilant band were basking in sunshine. Even a rainbow made a brief appearance as the sun set on a veritably muddy yet enjoyable 35th edition.


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Bonga: a beginner’s guide

Posted on July 17th, 2017 in Features, Recent posts by .


Alex Robinson looks at the amazing career of the Angolan singer-songwriter who sparked a revolution in the 70s, helping to overthrow Portugal’s military dictatorship

Bonga was born José Adelino Barceló de Carvalho on September 5 1942 in the Portuguese colony of Angola. Porto Quipiri, his birthplace, lies some 100km north-east of the country’s capital city, Luanda. His was a musical family. “My father played accordion in a rebita band,” Bonga remembers, “and we had to learn the dance steps. Of my nine brothers, I was the one who accompanied my father on the dikanza [traditional percussion instrument] and this was the beginning of all that would happen later.”

José Adelino was a talented athlete. He became the Angolan champion at the 100 metres – and then 200 and 400 metres – before moving to Lisbon at the invitation of the Sport Lisboa e Benfica club in 1966 to pursue an athletic career. In Portugal he broke the national record for 400 metres and ran for the country, seemingly a model Portuguese. But he was leading a double life, attending secret meetings of the Popular Movement for the Liberation of Angola (MPLA) and carrying secret messages for the MPLA as he travelled to tournaments abroad. And under the alias Bonga Kuenda (which translates as ‘he who is looking, who is always ahead and moving’), he worked as an accompanist to the traditional Angolan singer Elias dia Kimuezo and began a clandestine career as a protest singer. It was a dangerous move in late 60s Portugal.

“All Angolan culture was under Portuguese domination,” Bonga recalls. “Traditional languages were banned and African music too. Since we had no weapons to fight with, we resisted on a cultural level, especially by forming folk music groups and performing songs that re-adopted ancestral African forms. Although their lyrics clearly referred to the unrest at the time – the poverty, colonial violence and latent revolt.”

Under the Estado Novo regime, led by fascist dictator António Salazar, Portugal was conservative, backward-looking and oppressive. Its guiding philosophy of ‘Lusotropicalism’ struggled to remember a mythical golden age of racial harmony administered by beneficent colonial Portuguese. This was in part born of the nostalgic idealism articulated in the writings of Gilberto Freyre. Salazar imposed his Lusotropicalism on the remaining Portuguese colonies, including Angola and Mozambique. But Portugal’s power and its empire were crumbling. Salazar ceded the Portuguese colonies of Goa, Daman and Diu to India after a humiliating war in the early 60s and had lost the iconic fortress of São João Baptista de Ajudá to the Republic of Dahomey in 1961. Portugal clutched Angola and Mozambique close, like straws. Moves towards independence were ruthlessly suppressed in the name of ‘racial harmony’.

By the early 70s, realising that he was attracting attention from the secret police, Bonga left Lisbon and went into self-imposed exile in the Netherlands. He was determined to record an album that related his own experiences and his sense of commitment to Angola, an album that would crystallise a sense of pride in suppressed African culture and tradition. The record would be a state-of-the-nation address, a call to cultural and political arms. Bonga simply called it Angola 72. The album became one of the most powerful collections of protest songs ever recorded. A potent mix of haunting, prophetic lyrics, taking pride in indigenous Angolan culture, and a lament from political exile, it inspired a revolution. The record was banned by the Salazar dictatorship, giving it far more publicity than it might otherwise have received. Smuggled into Lisbon and Luanda as contraband, it was distributed to young would-be revolutionaries and listened to in the dead of night under bed covers. Being caught with Angola 72 meant brutal interrogation and possible imprisonment. In Bonga’s own words, his record “became a musical beacon for all our demands in Africa.”

The revolutionary theme was expanded on Angola 74, and this time Bonga’s message was for all Portuguese Africans, with music and songs from Cape Verde, in Cape Verdean Creole, not just in the Angolan Calão language. The album included the first (and greatest) recording of ‘Sodade’ – a song that would later be made famous by Cesaria Evora. By 1974 Salazar’s desperate attempts to cling on to Portuguese Africa were attracting worldwide condemnation. Articles in the international press exposed atrocities such as the notorious Wiriyamu massacre in Mozambique. Guerrilla campaigns in Angola and Mozambique had turned into protracted wars that were bankrupting Portugal and alienating a generation of Portuguese, forced into conscription. Lisbon’s people took to the streets to decry their government. And then in April 1974, the Estado Novo regime was overthrown, in a bloodless coup organised by left-wing Portuguese military officers. Known as the Carnation Revolution, it brought an end to the colonial wars, and won independence for Angola and Mozambique.

Bonga moved to Paris before returning to a newly democratic Lisbon, where he was finally free to record traditional Angolan and Luso-African music. In 1975 he travelled to the US to play a central role in the concerts celebrating the independence of another Portuguese African colony, Guinea-Bissau. By the 80s Bonga was loved by the Lisbon that had once so despised and feared him. He became the first African singer to perform in the Coliseu dos Recreios concert hall – a bastion of traditional white Portuguese culture. And through the group he put together, the Semba Masters, Bonga continued to disseminate Angolan music in Europe and the US.

Bonga’s most recent album, Hora Kota, is a reminder to Angolans of the importance that the past has for their future – an appeal for the preservation of tradition. In the face of rapid modernisation and the homogenisation of the digital age, Angolans should not forget the traditional rhythms like semba and rebita and the African-Angolan cultural identity his generation fought for. ‘The father of the father of your elder, the mother of the mother of your elder,’ he sings on the lilting title-track, ‘they affirm who you are and where you’re heading.’ Even in his 70s, Bonga is living up to his name: ‘he who is looking, who is always ahead and moving.’


Angola 72/74 (Lusafrica, 2011)

The album that introduced Bonga’s melancholic voice to the world, Angola 72 inspired a generation of Portuguese Africans. It was reissued on CD by Lusafrica with the follow-up Angola 74. It’s Bonga at his musical peak: a collection of mature, masterfully sung tracks filled with lamentation, tinged with hope and including a haunting version of ‘Sodade’.

Hora Kota

(Lusafrica, 2012)

Forty years after his first album, the husky voice, melancholy and musical mastery are all still there. Bonga is still calling his countrymen to cultural arms, reminding them to cherish and preserve their African identity.

This article originally appeared in Songlines #94 (Aug/Sept 2013). To find out more about subscribing to Songlines, please visit:

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YouTube Playlist #94

Posted on August 2nd, 2013 in Recent posts by .

Now that you’ve read all about the music featured in the latest issue of Songlines, don’t forget you can also watch and listen to it on our YouTube playlist, which we compile every issue for your viewing pleasure. You can find the full playlist here.

Here are a few of its highlights:

Gilberto Gil
Alex Robinson speaks to the Brazil’s legendary statesmen about the 60s tropicália movement and how he has tried to bridge the gaps in Brazil’s class-ridden society.

Béla Fleck 
Béla Fleck, probably the finest banjo virtuoso in the world today, talks to Nigel Williamson about the instrument’s African roots.

We talk to the young Zimbabwean Afro-fusion band who are taking the world by storm.

Christine Salem
Jane Cornwell speaks to La Réunion’s rising maloya star.

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Top of the World: Nicolas Repac – Black Box

Posted on February 12th, 2013 in Recent posts, Reviews by .

Words by Alexandra Petropoulos

An album that proves the whole world’s got the blues

In his 2004 album Swing Swing, guitarist, composer and producer Nicolas Repac took a futuristic journey through the history of swing, sampling old recordings and adding a contemporary, danceable flair. Similarly, Black Box unearths and follows the various lines of the blues sensibility through its many forms, from reworking classic bottleneck blues to highlighting soulful Balkan melodies. The album opens with ‘Chain Gang Blues,’ a dreamlike arrangement of African-American inmates recorded by folklorist Alan Lomax in 1947. Mysterious harmonies and guitar underline the time-keeping crash of axes and distant call-and-response hollers. 

There are other excellent samplings of Lomax recordings including ‘All Ready?,’ featuring a 1959 recording of John Davis and the Georgia Sea Island Singers that highlights the industrial, work-song aesthetic with heavy hits and off-kilter rhythms and ‘Betty Loop,’ which (perhaps unsurprisingly) loops a 1933 recording of ‘Black Betty’ by James ‘Iron Head’ Baker. Repac samples other classic blues singers – including Bo Diddley on ‘Bo’s a Lumberjack’ and Blind Willie Johnson on ‘Redemption Blues’ – but venturing further afield, he features Angola’s Bonga (‘Cenas de Gaby’), Senegal’s Cheikh Lô (‘Pulaar’) and Haiti’s Ti-Coca (‘Haiti Bottleneck’). Most surprising perhaps is ‘La Fuerza del Sentimiento’, in which subtle accompaniment beautifully supports Peruvian Guillermo Arévalo Valera’s shamanic chanting or ‘Slepa Ljubav,’ which samples Serbian Stana Selimovic’s haunting Balkan melodies over blues guitar. While not as danceable as Swing Swing, Black Box is still an exceptional album that is able to offer a contemporary take on the blues and its relatives without compromising the music’s original soul and beauty. 

TRACK TO TRY: All Ready?

Click here to buy the album on Amazon

Click here to download the album on iTunes

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